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Though it’s a bit stagey in places, the film...hits on something meaningful in the way that it uses 18th Century social conventions to address to the discomfort and hypocrisy of a subsequent age.

The film takes time to gather pace and discover its true direction. Once there, the story takes hold and won’t let go.

Venus is delightful. Gentle. Lyrical. Funny.

Daring, and well ahead of its time.

Nothing else has captured quite so succinctly the dynamics of the information revolution or its impact on what it means to be human.

A painstakingly curated trailer reel that pays affectionate if sometimes wry tribute to a bygone chapter in the history of genre cinema.

When the film isn’t being didactic, there’s some good dialogue here.

Kjersti Helen Rasmussen's short film is grown up science fiction, quietly logical.

There is a fairytale vibe to proceedings, enhanced by the snow through which he trudges in the parks.

Fox succeeds in showing us much of the best and worst of modern Israel.

A good yarn well paced and well made.

The concept is fruitcake flimsy, decorated with sweet nothings and garlanded with small talk that would make Bridget Jones cringe.

The dialogue is sparse and when the characters do speak, it's clunkily written, laden with insipid profundities, and often badly delivered.

This fine array of actors is charged with safeguarding a plot as weak and confused as a newborn kitten.

By keeping the plot simple, the characters are allowed to find their voices and flourish.

hat is surprising is that Roddy Doyle wrote the script. He must have been having one of those days.

And while horror fans expecting gore and outrage may leave disappointed, those who like a decent ghost yarn and have a soft-spot for flares are in for a guilty pleasure.

Certainly not as influential nor provocative as Lang’s very best work, While The City Sleeps is nevertheless a very good slice of Fifties noir.

This is Woody Allen territory, except not as funny

It's the sense of claustrophobia, and the tension emanating from it, which are key to the film's success.

[The new footage] doesn’t severely blunt, and in some other cases enhances, the impact of a film that yields more with every viewing.

It makes a nice change to see a low budget British flick actually making a fist of it.

John Woo specialises in the spectacle of violent death and, after a while, this becomes monotonous.

It might be a tough watch that'll put many off early doors, but this is still top-notch television.

Nothing can save the film from blandness, or disguise a tiresome, silly plot.

Australia's finest horror film in years.

Succeeds in a way that rips your guts out.

If there is one word to describe World Trade Center it would be 'reverent'. If it wasn't so well directed, so well acted, so well edited, Stone might be accused of going soft.

Manipulating emotions matters most when the plot is weak. They throw everything in the candy store at this one.

Pure joy from start to finish.

One of the irresistible charms of Wallace And Gromit for many fans is not just that they are quintessentially British but that they are unmistakably northern.

The film is at its best as a character study.

The action scenes right through the film are visceral and heart-thumping.

A slowly driven road movie that blends comedy and drama, while it milks its laughs, some of them very loud, from the perfect timing of the revelations and from the perfectly nuanced relationships between the characters

Here cosmos and chaos, action and reaction, hope and despair, love and anger, all bump and grind together in a Satanic tango.

A thoughtful but dreary examination of narcissism, disconnection and emotional dishonesty.

You'll be humming the catchy chorus long after the credits have rolled.

Not a great deal happens in this story of survivalism and primitive conflicts that we haven't seen dozens of times before, but by sticking with Anna's perspective, writer/director Josh Mendoza makes it all feel very different.

For fans of the musical, this will give them more of what they already like, perhaps even too much. For those not yet fans I'm not sure this will give them enough.

Truly a milestone in British cinema.

A few scenes are likely to genuinely terrify younger viewers, but Wonka would be the first to point out that children ought to be terrified now and then.

Palmason accentuates the tedium by holding almost every shot far longer than necessary or shooting scenes in pitch black mines or against stark landscapes white with lime dust.

Truly gripping.

"Mother Nature is a serial killer," someone says, and it doesn't sound cheesy because the action smashes through the walls of scepticism and highjacks your logical mind

Without the all-star cast, it's easy to imagine X-Men: Apocalypse as a dismal failure, but the somewhat nonsensical script is rescued by the performances.

This was a great chance to cover one of the most iconic storylines in the history of comics, squandered by not handing the script to a five-year-old child in order to iron out some of the more egregious errors prior to filming.

What makes this film so enjoyable is the chemistry that holds its ensemble together.

Writers Jon Hewitt and Belinda McClory chalk out a fine line between seedy entertainment and social commentary - and then stomp all over it as their slick film embraces the urban sleaze as much as holding it up for judgement.

One of the rare chick flicks that doesn’t appear to hate women, Year Of The Dog contains its essentially sappy narrative within a membrane of stabbing humor and ingenious reaction shots.

Written around the songs as it is, the film makes good use of them and they add to rather than distracting from the narrative.